1. Week 5: documentary re-enactment
The Arbor
Acting Out and Working Through

2. Susie Orbach on therapy and language
“Words are the most exquisite example of the unity of mind and body. Speech is a physical and mental production and the tone, rhythms and forms in which words are spoken in the analytic session are of great interest … This is the work of therapy: to find the words which can enable the individual to encounter the complexity of feelings that they find fearful and to then risk experiencing them”. The Guardian, 29 October 2016, p.20 (Review section).

3. For the Fallen Lawrence Binyon, 1914
They shall grow not old, as we that are left grow old: Age shall not weary them, nor the years condemn. At the going down of the sun and in the morning We will remember them.

4. In Praise of Forgetting David Rieff 2016
‘mustering the courage, at least from time to time, to contemplate the meaninglessness of history’ (page 5)

5. Remembering, Repeating and Working Through Sigmund Freud 1914
‘the patient does not remember anything at all of what he has forgotten and repressed, but rather acts it out. He reproduces it not as a memory, but as an action; he repeats it, without of course being aware of that the fact that he is repeating it’ (p. 36 Penguin; p. 150 Complete Works)

6. The Staircase Jean Xavier de Lestrade, 2004

7. Abreaction
‘the expression and consequent release of a previously repressed emotion, achieved through reliving the experience that caused it’

8. The Jinx Andrew Jarecki, HBO, 2015

9. The Arbor Clio Barnard, 2010

10. das Ungeschehenmachen
TO RENDER SOMETHING UN-HAPPENED
Freud ‘Inhibition, Symptom, and Fear’ (1926)

11. Freud ‘Inhibition, Symptom, and Fear’ (1926)
‘in effect cancels the first, as though it had never happened, whereas in reality both have happened’ (187, Penguin) ‘the actual enactment of which then becomes the rallying point for a variety of conflicting purposes. Anything that did not happen in the way the person wanted it to happen is obliterated by being subjected to repetition in a different way’ (188)